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Malakhov S.A. TREATING AN ARCHITECTURAL OBJECT AS A NON-SCALE FRAGMENT OF THE ENDLESS SUPREMATIC COSMOSA concept of architectural shape with expressed orientation towards fragmentariness is under consideration. Objectless art, suprematic experiments have created the language that demonstrates high plastic potential, bringing structural morphology closer to the natural process. The architectural object is born in the space of architectural models, that is why the models' own space acts as a whole and a metaobject in relation to "incoming objects", "clusters of shape", and the principal role in working out models is played by lines and the rhythmical grid, which is actively developed in works of artistic vanguard. The integrity and identity of landscape joining together natural and artificial environments is seen as the most important task of an architect's activity. The architectural object which is isolated from the environment loses its cultural role. The interrelations between the object and the environment acquire the importance of methodological discourse predetermining various scenarios of mutual influence. In traditional culture the object exists as a part of hierarchically and symbolically structured system, and the integrity of landscape is ensured by coincidence of language, cultural ideal and architectural response. Modern culture is characterized by different ideals, natural artistic properties of space among them, and the integrity of space is ensured by the integrity of artistic language. That is why the modern object kind of involuntarily interprets via shape the image of a fragment of whole, first of all — on the level of abstract plastic shape. The article deals with the concept of architectural shape with expressed orientation towards fragmentariness. Objectless art, suprematic experiments have created the language that demonstrates high plastic potential, bringing structural morphology closer to the natural process. Artistic experiments of Kazimir Malevich, Vladimir Tatlin, Piet Mondriaan, Theo van Doesburg have demonstrated the features of "new style", which is based on the combination of abstract geometrical "color-shapes". Such shapes measure up against each other and against surrounding space similarly to cosmic objects, but this cosmos is an artistic metaphor of infinity, while its real representation is first the space of the suprematic picture, and then the architectural object and its environment. At the same time the fragmentariness of this created language allows producing an endless number of "suprematic objects", which are spatially and stylistically "connected", and it is this genre of modern shape that allows establishing modern architectural shape as a new type of integral landscape.Key words: architectural object, suprematic cosmos, whole and part, fragment of fragment, metaobject, architectural and artistic modelling, rhythmical grid, harmonious landscape.
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About this article
Author:
Year: 2015
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Editor-in-chief |
Sergey Aleksandrovich
MIROSHNIKOV |
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